Chapter 25 - Gardner's
Hals's group portraits reflect the widespread popularity in the Dutch Republic of cast canvases commemorating the participation of Dutch burghers in civic organizations. his Archer's of Saint Hadrian, is typical in that the subject is one of the many Dutch civic militia groups that claimed credit for liberating the Dutch Republic from Spain. In this brilliant composition, hals succeeded in solving the problem of adequately representing each individual in a group portrait while retaining action and variety in the painting as a whole. Each men is both a troop member and an individual with a distinct physiognomy. Some engage the viewer directly Others look away or at a companion. each man is equally visible and clearly recognizable. Hals used elements such as the black military dress, white ruffs, and sashes to create a lively rhythm that extends throughout the composition and energizes the portrait.
Hals, Archers of St. Hadrian, ca.1633 - Dutch Baroque
Poussin was the leading proponent of classicism in 17th-century Rome. His works incorporate the rational order and stability of Raphael's compositions as well as figures inspired by ancient statuary. Dominating the foreground are three shepherds, living in the idyllic land of Arcadia, who study an inscription on a tomb as a statuesque female figure quietly places her hand on the shoulder of on of them. She may be the spirit of death, reminding these mortals, as does the inscription, that death is found even in Arcadia, supposedly a spot of paradisiacal bliss. The classically compact and balanced grouping of the figures, the even light, and the thoughtful and reserved mood complement Paussin's classical figure types.
Poussin, Et in Arcadia Ego, ca.1655 - French Baroque
he painting is renowned for three elements: its colossal size (363 x 437 cm ~ 11ft 10in x 14ft 4in), the effective use of light and shadow, and the perception of motion in what would have been, traditionally, a static military portrait. It depicts the eponymous company moving out, led by Captain Frans Banning Cocq (dressed in black, with a red sash) and his lieutenant, Willem van Ruytenburch (dressed in yellow, with a white sash). With effective use of sunlight and shade, Rembrandt leads the eye to the three most important characters among the crowd, the two gentlemen in the centre (from whom the painting gets its original title), and the small girl in the centre left background. Rembrandt amplified the complexity of the group portrait by using light in a masterful way and dramatic lighting that certainly enhances the image.
Rembrandt, Night Watch, 1642 - Dutch Baroque
Vermeer used both mirrors and the camera obscura to depict opulent 17th-century Dutch domestic interiors so convincingly. He was also far ahead of his time in understanding science of color. The painting shows a servant maid handing a letter to a young woman with a lute. The tied-up curtain in the foreground creates the impression that the viewer is looking at an intensely private, personal scene. The drawn curtain and open doorway through which viewers must peer reinforce their status as outsiders getting a glimpse of a private scene. There is also an element of trompe l'oeil as Dutch paintings were often hung with little curtains to conserve them, and the device of painted curtains is seen in other Dutch works of the period. The diagonals on the chequered floor create the impression of depth and three-dimensionality. The colors blue and gold are important in the composition of the painting - the gold is located on the woman's dress, the top of the fire place, and many of the objects, which complements the blue on the floor, the maid's dress, the picture frames, etc., Classical influence is also apparent in the ionic columns of the fireplace.
Vermeer, The Letter, 1666 - Dutch Baroque
In 17th0century England, architecture was the most important art form. Wren's cathedral replaced an old Gothic church. The façade design owes much o Palladio and Borromini. The great dome recalls Saint Peter's in Rome. in view of its size, the cathedral was built with remarkable speed. In the splendid skyline composition, two foreground towers act effectively as foils to the great dome. The influence of Borromini appears in the upper levels and lanterns of the towers and that of Palladio in the lower levels. Wren harmonized the architectural principles of Andra Palladio with the Italian Baroque and French classical styles.
Wren, St. Paul's Cathedral, 1675-1710 - British Baroque
